The 'Cambiata' Motive and Cyclic Form in Schnittke's 4th String Quartet and 3rd Piano Sonata

This paper reveals the treatment of a musical element (motive) that has been used and reused in Schnittke's compositions for more than a decade. In the music, the motive not merely undergoes varied reiteration but also development. In general, on the surface level it is presented in: 1) its original structure, with or without its outer semitone being separated by a huge leap, and 2) a chromatic line, with or without its outer interval being separated by a huge leap. In addition, a variety of compositional techniques are employed to bring attention to the motive. Especially noteworthy is Schnittke's treatment of motive manipulation in the music.